Mistress America Review - 'a quietly uproarious comedy'

Very few directors are capable of crafting films that are as hilarious, devastating and personal as Noah Baumbach's latest. Mistress America marks his third collaboration with long-term girlfriend Greta Gerwig as star, and the second time that the two have co-written together. Where Frances Ha highlighted the duo as a potentially formidable force in independent film, this latest offering cements the couple as the unshakable king and queen of screwball comedy.

Gerwig plays Brooke, a 30-year-old woman living in New York City who 'freelances as an interior designer' amongst many, many other things. Aerobics instructor, maths tutor and now budding restauranteur, her capabilities seem endless. Surprising it is then that she is not our protagonist. Instead, the sulky but fiercely intelligent Tracy (Lola Kirke) is our heroine. Tracy, who moved to New York City to study literature does as is typical of many 18-year-old students. Early on, we find her asleep during a lecture with only a handful of other students. Brave? Certainly; although it hardly inspires confidence in her academic prowess. We learn soon onwards that this laziness is mirrored in her refusal to socialise with her peers, whom she deems to be uninteresting and juvenile. Sounds like she could benefit from a positive influence, no?

The characters' paths cross when Tracy's divorced mother accepts a marriage proposal from Brooke's widowed and unstable father, prompting the soon-to-be sisters to hastily arrange a meeting. 'Do you know where Times Square is?' Brooke asks. Seconds later, she descends clumsily down Broadway's famous red stairs towards a beaming Tracy. Instantly, we are mesmerised. What follows can be described only as a whirlwind. Tracy is ferried through New York as if she seeing the city for the very first time, visiting bars, raucous parties and famous landscapes for only minutes at a time. The exuberance of Gerwig's character forces Tracy, and us, to feel the city. Brooke is New York City, alive in every sense of the word and brimming with possibilities.

Companionship is not the only thing that Tracy gains through her friendship with Brooke. What she gains, more so in fact, is an arguably exploitative form of inspiration. In an attempt to enter a prestigious literature group at her university, Tracy retreats to her notepad after each encounter to document her thoughts. Her writing focuses not on Brooke's electricity, but instead on the flaws that she unknowingly reveals. Her dream of opening a restaurant in which people also 'cut hair' is sweet, but telling in its naivety. Her seemingly boundless talents appear to fade with each scene, her character representing the lucidity of the American Dream.

The title of Tracy's piece: 'Mistress America', follows this process. Ironically the title itself is stolen from Brooke, who self-professedly claims to have had a number of 'great' ideas stolen by friends. Her friends (enemies) whom we meet first in bars, and later in their own homes retort that she possesses 'no follow through', her ideas failing to materialise in every stage of her life. Here, Baumbach brilliantly realises the fears of so many 30-year-old men and women who worry that there life should be worth more. Brooke spreads herself thinly over as many projects as possible so as to distract herself, and others, from her deep-rooted insecurity.

The second-half of the film sees Brooke pursue her 'arch-nemesis' Mamie-Claire (Heather Lind) whom she accuses of stealing her idea for a T-Shirt range. The entire scene is hilarious. Unlikely oddball characters are introduced at lightning pace - love interests, ex-boyfriends, jealous girlfriends, angst-ridden neighbours and Karen, who just wants to go home. During the encounter, Tracy's dissection of Brooke's character is brought to light when her writing is uncovered. The conspiracy ignites a fierce confrontation that grows in front of a very willing audience who each weigh in with a startling disregard for privacy. Brooke quips 'You are much more of an asshole than you initially appear'. Jealous girlfriend wholeheartedly agrees.  

As the nature of Brooke and Tracy's relationship is revealed, we are left to wonder who we should be feeling for. Tracy's words are far from unfounded, and Brooke's outraged reaction suggests that she knows them to be true.  Tracy defends that she thought Brooke was too 'totally amazing' to hurt, to which we are reminded by Brooke that she too is human, and not Mistress America. Tracy's 'asshole' behaviour here is reminiscent of the many accusations made against Brooke by her friends, suggesting that the too women share more similarities than was initially expected. Perhaps the brilliant Brooke isn't so brilliant, and perhaps Tracy is not as sweet as she first seems.

Baumbach, Gerwig, Kirke and the entire cast are equally tremendous throughout this underrated flick. The fluid structure in which 'not much happens' may be frustrating for some viewers, but others should truly relish the opportunity to meet characters that resonate with every part of us.

- 4/5 STARS -

(Sam)